PB: It’s all subjective, though. Everyone sees something different. The most important thing is that your characters be internally consistent.

KD: Who plays RPGs here? (Pause for show of hands) What the first thing you do in any game? (Create your character!) We have character sheets, even if they’re only in our heads. We have to become method actors for our characters.

PB: We have to step into their shoes. You have to look at the character’s purpose in the novel. If two characters serve the same purpose, one of them has to go. In Rosenkrantz and Guildenstern are Dead, for example, the title characters serve the same purpose in Shakespeare’s play. They are expendable. Every character has to have a problem to solve. In a series, when one problem is resolved, another has to crop up to take its place. My Mercy, she’s a coyote shape shifter and therefore Native. Her job had to fit. She has her own business. She’s a mechanic for Volkswagons. She likes to fix things.

KD: For my series, I actually used a character I’d built for an RPG in the past. A to Z. What gets them there? Characters have to be complex. Origins need to be pre-defined so we know how they will react to the situations they’re put in.

PB: Characters have to make decisions. With actors, every action has a purpose. What does this gesture mean? What does their body language convey? C.J. Cherryh says every scene must accomplish three things. Mercy was abandoned and taken in by a werewolf pack. She has issues with women and abandonment. She needs to make broken things work. Ben is an obnoxious, misogynist jerk, but once Mercy, and readers, learned why, he became sympathetic. What is the secret the character would kill for or die to protect?

Q: How to you reflect growth in your characters?

KD: Body language changes given circumstances. Everyone has a mask for different occasions. Underlying that is the same core character, though.

PB: Mercy surprises me all the time, but that’s part of her nature as a shifter. Experienced writers can predict what will happen and how a character will react. Think about your friends and family. How well do you know them? Can you predict what they’ll do? Think about TV shows and the characters you see there.

KD: Circumstances dictate character behaviour, but consistency is where everything originates.

Q: What is your advice regarding negative endings and death?

PB: The reader feels betrayed. Lois McMaster Bujold does this extremely well, though. You have to set up your ending. It must feel like it’s the right thing, the only thing that can happen. The ending must fulfill the character in some way.

KD: I hate Disney’s happy endings. I love tragedy, but it has to have a purpose.

PB: George R.R. Martin does this well, too. It’s what the story demands. Barbara Hambly did it, though, and ended up losing audience as a result.

Q: What do you do about info-dump?

PB: Write it down as part of the character sketch and bring it out as the story demands.

KD: Ask yourself what the story needs? One bad guy might need killing, another might not.

PB: Justice must be served. In Pitch Black, for example, the pilot would have sacrificed everyone else for her own survival. When she later dies to save everyone, there’s a sense of justice being served.

Q: My stories are plot driven. The advice I’ve been given so far hasn’t been helpful. For example, I was told that all characters have to have limitations and they have to suffer as a result.

PB: You have to avoid the “super” character.

KD: One must suffer to learn. It’s a common experience, but not necessarily universal. Characters can learn by overcoming adversity.